Mozart's Mysterious Music

Wolfgang Amadeus Mozart's Requiem in D minor, K. 626, stands as a profound and poignant testament to his genius, tragically left incomplete at his death on December 5, 1791. Composed in Vienna during the latter part of 1791, the Requiem was commissioned under mysterious circumstances by Count Franz von Walsegg, intended for a memorial service on February 14, 1792, for his wife Anna. The commission itself was shrouded in secrecy, with Mozart reportedly receiving it from an anonymous messenger, a narrative that has since been embellished by legend, including Mozart's own alleged belief that he was composing his own funeral music.

The surviving autograph manuscript reveals Mozart's completed orchestration of the 'Introit' and detailed drafts for the 'Kyrie' and sections of the 'Sequence,' notably the 'Dies Irae' and the first eight bars of the 'Lacrimosa,' along with the 'Offertory.' This fragmented state highlights the immense creative energy Mozart poured into his final days, leaving behind a skeletal framework of unparalleled emotional depth and musical innovation, a work that would necessitate collaboration to achieve its final form.

The completion of Mozart's Requiem became a significant undertaking for his contemporaries. Initially, Joseph Eybler was tasked with finishing the work but withdrew, leaving Franz Xaver Süssmayr to assume the monumental responsibility. Süssmayr's task involved not only orchestrating Mozart's drafts but also composing entire movements and filling in the gaps to create a coherent and complete Requiem Mass.

He worked from Mozart's sketches, and it remains a subject of scholarly debate to what extent he relied on now-lost 'scraps of paper' or Mozart's verbal instructions. Süssmayr later claimed authorship of the 'Sanctus,' 'Benedictus,' and 'Agnus Dei,' asserting his own compositional contributions. The resulting score, delivered to Count Walsegg and dated 1792, was a masterful, albeit collaborative, achievement.

However, the extent of Süssmayr's reliance on Mozart's intentions versus his own creative input has fueled centuries of musicological analysis and debate, seeking to delineate the precise boundaries of Mozart's original vision within the completed work.

Count Franz von Walsegg's commission of the Requiem was likely driven by a desire to present the work as his own composition, a practice he was known to engage in with other musical pieces. He intended to use the Requiem for the anniversary of his wife's death and potentially claim authorship. However, this plan was ultimately frustrated by the efforts of Mozart's widow, Constanze.

Driven by a desire to honor her husband's legacy and secure financial support, Constanze organized a public benefit performance of the Requiem. This public unveiling was crucial; it ensured that Mozart received proper credit for his genius and prevented Walsegg's intended deception. Constanze's proactive role was instrumental in preserving the integrity of Mozart's final masterpiece and bringing its true authorship to light, transforming a potentially private act of musical appropriation into a public celebration of Mozart's unparalleled talent.

The Süssmayr version of Mozart's Requiem remains the most widely performed and recognized rendition. Yet, the inherent mysteries surrounding its composition and completion have spurred continuous scholarly inquiry and artistic reinterpretation. Over the decades, numerous composers and musicologists have developed alternative completions, seeking to offer a more historically accurate or musically distinct realization of Mozart's potential intentions.

At least 19 conjectural completions have been documented, with a significant surge in new versions appearing after 2005. These modern interpretations, ranging from meticulous scholarly reconstructions to more radical artistic reimaginings, underscore the Requiem's enduring power and its capacity to inspire ongoing dialogue about authenticity, collaboration, and the very nature of musical creation. The work continues to resonate, not just as a somber memorial, but as a vibrant subject of study and performance in the 21st century.